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Faust (2011)

Director: Alexander Sokurov

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From Time Out London

Several things about Russian filmmaker Alexander Sokurov’s German-language spin on the Faust legend – the fourth and final part of his tetralogy of films about power and evil after ‘Moloch’, ‘The Sun’ and ‘Taurus’ – make it a difficult, even alienating experience. It’s talky. It’s often rambling. It has a rigorous, even unrelenting, grey, green and brown palette and, narratively, it’s tough to penetrate.

But, still, this ‘Faust’, which won the Golden Lion at Venice in 2011 and is set in an indistinct time and place – presumably somewhere in Germany roundabout the nineteenth century – has a sly humour and down-to-earth mystery that make it cumulatively compelling and allow the themes of the story to burrow deep within the viewer. Moreover, the film’s look gradually takes on a hypnotic power as Sokurov’s constantly travelling camera offers images blurred at the edges, sometimes tilted and with the occasional arresting close-up, such as when he halts on the beautiful, brightly lit face of Faust’s love, Margarete (Isolda Dychauk), and the source of his pact with the devil.

The pairing in this version of the alchemist Heinrich Faust (Johannes Zeiler, looking like a bulbous-nosed Ralph Fiennes) and the Moneylender (Anton Adasinsky, as this version’s Mephistopheles) make this a distinctly earthly version of the tale. This devil is a thin-haired, ugly pawnbroker: it’s only when he strips off his clothes for a brief bathing scene that we’re treated to a penis hanging from his back and a nasty mass of flab that has gathered around his mid-section.

This devil is witty, too. When Faust berates him for tempting Eve in the Garden of Eden, he has a reply. ‘It wasn’t I… but a distant ancestor.’ It’s the balancing of this more quotidian approach with the film’s more ethereal qualities that makes it truly distinctive, and a final section shot in Iceland offers a clever spin on the descent into hell.

Author: Dave Calhoun

Time Out London Issue 2177: May 10-17, 2012

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John Sebastian said...

Posted on May 10 2012 10:52 Dear Dave Calhoun,
I implore you to release yourself from your dependence on 'narrative'. Do you not realise that artistic filmmaking goes so far beyond the chains of 'narrative'. What kind of critic do you consider yourself to be if you are seemingly so limited in your field of perception and appreciation? Rather than saying - I didn't like this film because I was alienated therefore it's no good, it's difficult so BEWARE! - try to see the film on its own terms and judge it that way. This is precisely the same as saying you don't understand Japanese culture because it alien to me, so therefore approach with caution! It's clear you prefer your Art to be spelt out with a capital A, such as with 'We Need To Talk About Kevin...'
After your opening paragraph your appreciation of the film does come through, but by opening with a paragraph that essentialy warns readers of the film's supposed 'difficulty', you're doing the film a massive disservice (if such a word exists).
Rather than continually judging films by their loyalty to 'narrative' (the life raft for today's generation of film critics), why not attempt to understand the film on its own terms and its own methodology and judge it with regards to how well you think it achieved its aim relative to its actual approach, instead of the approach associated with 'narrative'.
Perhaps today's film critics should watch a film ilke 'Faust' twice before reviewing it? Sokurov's films are dense and require repeat viewing from both audience and critic - would you attempt to review a new symphony by Shostakovich after a single listening?

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lyssi said...

Posted on Oct 27 2011 22:00 Perhaps several times in one's lifetime is one so privileged to see a film that is conceived with perfection in mind ( you should see the list of historical advisor!) and realised down to the last detail with perfection, not in an overdone way but just right. .This is such a film, and don't miss seeing it on the big screen Aronofsky the director, who award Sukurov the Golden lion in Venice said this film is a rare life changing experience, and even though I am no fan of aronofsky, I totally agree. The film moves at a stately pace, and unlike Sokurov's previous works which can be hard going, this one has a conventional narrative drive I thought I'd mention this because this film really is a BIG treat don't miss it.

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